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GeneralMusic GEM S2 / S3 – ingenious workstations

Maybe you’ve heard some of those ever-persistent murmurings about the GeneralMusic S-series: “The S2 synthesizer – a secret sound weapon”, “GEM S2 and S3 are among the best master keyboards on the market”, “great polyphonic aftertouch”, “some intriguing sounds”… and on and on. Let’s have a look at that GeneralMusic S-series. Is it as innovative as rumours have it?

GEM – a respectable name in the organ/home keyboard/e-piano market

GeneralMusic unfortunately filed for bankruptcy some time ago. It was among the last Italian keyboard manufacturers, along with Ketron (Solton). The company had grown substantially, especially in the late 80ies / early 90ies. But let’s start even further back and have a look at Crumar first. When the great keyboard & organ manufacturer closed its doors in 1986, it was bought by LEM. The latter was taken over by GEM a few years later, as was ELKA.

1994 GEM changed their company name to GeneralMusic, but kept GEM as a brand. That means that GeneralMusic now hosted GEM, LEM and ELKA. GEM was still a name to take seriously in the portable keyboard, workstation and e-piano market. LEM produced mixing consoles and loudspeakers, while ELKA offered guitar/bass amplifiers and portable p.a. systems.

In the early 90ies, GEM/GeneralMusic had some 500 employees in five locations. The R&D (Research and Development) department alone employed 25 technicians. That’s where, among other things, some of the S-series custom chips were developed.

The S-series actually was one of the last products ELKA began. After its collapse in 1988, GEM/GeneralMusic took over the plans and brought the innovative “S” synthesizer project to realization. Sadly, the success of the S-series was limited, so GEM/GeneralMusic cancelled the whole product line once the Turbokit had been released. A few years later another, very “S”-like synthesizer appeared, the GEM Equinox. It closely resembles the S2/S3 and seems to be GeneralMusic’s last delving into high tech synthesizers.

I bought the GEM Equinox Pro 88 in 2010 and, to be honest, I can tell you the old S2 / S3 is much better (… it’s mainly the quality and originality of the sounds which is much better and a lot more inspiring).

In 2007, GeneralMusic’s product line contained arranger-keyboards, multimedia workstations, e-pianos, mixing consoles, loudspeakers and p.a. systems. But there was a time when the Italian company could easily have competed with any Japanese or American hi-tech synthesizer manufacturer. That was in the days of the S-series …

Meanwhile, Generalmusic closed its doors. On February 2009 Generalmusic fired all workers that immediately filed for bankrupt which has been declared in 2011. Very sad.

We repeat, GeneralMusic made its first serious move into high tech with the GEM S2/S3 and S2R in 1992. Looking at the S2/S3, they seem like any ordinary sample + synthesis keyboard workstation. But these are professional, genuine synthesizers with some fresh new functions and – best of all – a wonderful sound. Physically speaking, they tote some outstanding features: The enormous, deeply sunken aquamarine LCD, the two moulded (freely programmable) wheels, the masculine 61-note/76-note keyboard, the many panel controls.

Although the panel is crowded with knobs, it doesn’t seem cluttered. Most knobs have a specific function, such as EFF. BYPASS, CLIPBOARD or MIDI OFF. The S-serie’s flexible (open) operating system (called MIOS) lets you move about the instrument in a free-flowing computer-like style.

GeneralMusic Equinox Pro 88

The early 90ies – birth hour of many respectable S+S workstations

The field of highly professional S+S (sample + synthesis) concepts was quite crowded back in the early 90ies. Actually, the story should start back in 1988 with the all-time classic Korg M1. Its successor, the 01/W, had a bigger screen, more samples, double polyphony and a new “crazy” feature called waveshaping. It remains a very popular workstation up to this day. Roland tried to continue the success of the D-50 and released a PCM sample-based synthesizer called D-70. Sadly, it was too complex to program – a real pain, once you began delving beneath the surface! Yamaha’s SY77 (and its rack version TG77) equally suffered from a too-complex operating system. Although they could have been milestones in synthesizer history (as was the DX7), those wonderfully sounding synthesizers were a pain to operate. Not even the more flexible flagship SY99 was rid of those inherent complexities.

In 1991, Roland’s JD-800 should have been the big seller, but it wasn’t! Too many knobs! People were too easily intimidated by all those sliders and buttons – although synthesizer designers in their turn must have found it pretty nerve-wracking, trying to figure out what synthesizer-programming concept people were actually looking for. 1991 was the birthday of Kurzweil’s K2000, too. This highly respectable instrument was the beginning of a whole bunch of professional synthesizers – up to the latest K2661 now in 2007. One year later – in 1992 – GEM (later GeneralMusic) hit the market with the GEM S-series.

GeneralMusic Equinox display

S2, S3 and the rack version S2R were hi-tech instruments, but the company name was by no way an asset. Not many pros knew GEM/GeneralMusic to be a producer of studio synthesizers. The Turbokit for 32-voice polyphony, equipped with an expanded ROM sound bank, didn’t help to turn the S-series into a pro’s instrument, either.

GEM/GeneralMusic stopped its production and support as soon as it became obvious that the whole range would turn out to be a flop. Completing the list of outstanding early 90ies professional synthesizer / workstation concepts, we should mention the Roland JD-990 and Ensoniq TS-10. Both were introduced in 1993. Finally, there was another innovative workstation from home keyboard producer Technics. The WSA-1, released in 1995, was a fully professional, future tech synth with acoustic modelling synthesis. Once again, the missing reputation in the pro user segment was the company’s biggest hindrance to establishing the instrument on the market.

GEM S2/S3/S2R are pro synths with some first-rate sounds, innovative editing procedures and a rarely-to-be-seen polyphonic aftertouch. The only limit was the professionals’ willingness to accept a new name. And maybe rumours were still around that the Italians could not manufacture a proper synthesizer. In its days, Crumar, for example, flooded the market with cheaply built instruments. Many of them toted serious sounds and were based on innovative concepts, but the hardware tended to be low quality. Buy a japanese synthesizer and you know what you get!

GeneralMusic (GEM)

But history tells us that there were some great pro synths that the Italians definitely got out on the market. The Synthex, for example, is better constructed than the Jupiter-8 or any Oberheim OB-8/Xa/X. That’s not to say that it’s more reliable, but the whole concept and construction is more professional than any of its competitors’ products! The GEM S-series is at least at the same hardware level as a Yamaha SY77/99, or any Korg or Roland workstation. The implementation of polyphonic aftertouch (with release velocity!) afforded high GEM/Generalmusic production costs. And the S-keyboard panels were covered with a special finish (a sort of rubber-encased plastic) that looks very elegant. GEM even produced a Turbokit for the S2/S3 which boosts polyphony up to 32-voices and expands the ROM bank to over 500! IF GEM/Generalmusic had kept producing instruments like this, we might be listing the company name right next to Roland, Yamaha and Korg today – who knows!

Music Processor

Let’s have a close look at the S-series. Basically, the instruments are sort of expanded workstations. What’s new about them? The flexible operating system allows you to use the S2, S3 as a MIDI merge center. Without using the internal sound engine, you can take advantage of the sequencer or control sliders, route and control any external MIDI device in any way you desire. There are two (!) independant Midi busses – that’s a rare one on most workstations, isn’t it? But, sure, nowadays you don’t buy a S2, S3 solely because of its sequencer or MIDI functions. Today you might be interested in these synths because of their intriguing sounds.

GEM did everything to make the S-series as userfriendly as possible. For instance, there’s a row of seven sliders and buttons next to the display, foolproofly marked with volume, attack, release, filter, pan, etc. Although the good point is, you’re not locked into these functions. Switching to “user” mode, you may use the sliders and buttons to control any functions within the overall S2, S3 patch. There’s 6MB of sample material to start with, and the two 2 pole 12dB filter can be combined to a single 4 pole 24dB state variable multimode-filter.

Two independent effect machines are “standard” for this type of workstation concept, but here again, there’s a little bonus: the global rotary effect is not only nice, but extremely useful. I wish more instruments featured this function. The two wheels can be used for standard pitch/vibrato performances, or can be assigned to any other function you wish. Boy, it spells real fun playing a cutting leadsound while changing its attack with the modulation wheel! As with the wheels, the CV/Pedal-IN ports are freely programmable. You’re probably getting an idea of how powerful these instruments are!

GeneralMusic S3 Turbo – Music Processor

Reliability

By chance, I got to know Lothar Jenske, who worked for many years as a repair man in the German GeneralMusic compartment. “S2/S3 hardly break down” he says. “Generally, they are very reliable instruments”. Sure, as with all electronic gear, some voice less positive experiences as well. In 2002 a user posted the following bloq: “During my last gig the S3 suddenly caught fire. The audience was excited – they thought it was a pyro-effect and part of the show – but it was anything but funny to me”.

The instrument’s display is breathtaking, it’s extremely bright due to special neon background lights. The wheels have a rough surface and are very good to use…

Fader and switches are pretty good quality as well, though some of the switches are very petite. While programming, you need to concentrate in order to make those adjustments exact …

GeneralMusic S3 Turbo

Last but not least, it’s the brilliant keyboard action that turns the S2, S3 into a potential master keyboard. The lightly weighted action (to use GEM’s own phrase) combined with polyphonic aftertouch sensitivity (with release velocity!) shows the great master key’s potential. I think polyphonic aftertouch opens a whole new world to the creative musician. Sadly, this great feature was among the most unpopular ones in the S-series’ history. Maybe keyboard (not piano!) players weren’t skilled enough to use the polyphonic feature correctly. To be honest, IT IS NOT EASY to control different keys with independent finger pressure.

The following list shows the basic specifications (dimensions, weight) of the GEM S-series:

S2 1055x116x350 mm, 16 kg, 61 keys

S3 1267x116x350 mm, 18,5 kg, 76 keys

S2R 434×132,5×276,5 mm, 7,3 kg, rack version

GeneralMusic S3 Turbo

Turbokit

In 1992, when the S-series was released, the press immediately pointed up several missing or improvable features. 16-voice polyphony wasn’t sufficient, important sequencer functions were missing, some day-to-day functions needed to be improved, etc. GeneralMusic, still trying to establish its synthesizers on the pro market, didn’t hesitate and released a respectable Turbokit.

Some of the improved features:

a maximum of 32-voice polyphony

more than 500 ROM sounds

100 preloaded performances

integrated sample translator 2

improved sound edit functions

improved disk management

upgraded sequencer

Let’s have a look at some details of the Turbokit version. For a start, performance titles are now displayed in BIG letters …

GeneralMusic S3 Turbo

The main page on the display features an “Oct Up” / “Oct Down” option. It’s like a virtual silver switch of those good old Roland synths where you could easily transpose the keyboard up and down. Further, you may synchronize LFO to MIDI (!). Exciting, isn’t it? Even modern synths sometimes lacks this important function. All sorts of sys-ex data can now to be transmitted via MIDI (very important!). The demo-song is available directly from the ROM area (and not only from the disc), and well… with sample translator 2 you’re able to load Akai S-1000 samples …

All in all, I’d say the Turbokit version is the one to keep a look out for !!! IF you spend a couple of hundred Euros for this wonderful instrument, then why not get it right? I have to point out that some minor highlights of the original S-series’ sound edit functions were kicked out of the Turbokit version to create space. But to me, MIDI synchable LFOs, sending/receiving sys-ex data and other functions are reason enough to go for the Turbokit. By the way, the Turbokit Manual contains close to 100 pages!

S-Series – Programming and Performance

“The ‘theory’ behind every keyboard always takes a bit of head-scratching to figure out and, commendably be-buttoned, screened, and what-have-you’d thought it is, the S2 will still take time to understand fully.” (Colbeck, Julian: Keyfax 4, page 28)

The raw material for sounds is a bank of 208 waveforms. As usual, they are collected in groups: natural instruments, synth sounds, drums, etc. Their quality is quite good, and – as with Korg’s M1 – especially the sax sample seems to have attracted a lot of people. Once you’ve chosen the basic waveform, it is time to concentrate on the filter section, containing two independant multi-mode (digital) filters. What you get is lowpass, highpass, bandpass, parametric boost and parametric cut mode. Sadly, the filters are digital, which is audible. But they’re not too bad. I’ve personally taken a liking to the highpass mode …

The Edit Page

The internal effects are organized in two separate effect units. Static effects contain reverb etc, while dynamic effects offer delay, pans, flanging, etc. The quality of the effects is sufficient. Pros, of course, will mute them in order to do external sound processing. But there’s an additional global effect that’s worth mentioning. The (stereo) rotary effect really brightens up sounds! This in addition to the vast panorama modulation function that the sound edit menu already offers. Add some high-quality external reverb (or delay) to your going-through-rotary-while-panorama-modulated lead sound, and you’re top dog!

I can’t tell you too much about the internal sequencer, as I’ve never used it. Basically, it’s a 16 track sequencer with detailed functions such as quantize, loop, track transpose, etc. It controls the internal sound engine and/or external synthesizers. Theoretically, you could run most of your studio equipment from the S2, S3 synthesizer with its two independent MIDI busses.

Although featured with tons of handy functions, the GEM S-series was designed to keep things as simple as possible. Most day-to-day functions are easily accessible. Switching the clock from internal to external mode is a matter of two clicks…

Master Transpose …

Function Controller

Next to the very animating neon-lit display, the 7 sliders are among the most eye-catching physical aspects of the instrument. Volume, attack, release, filter 1, filter 2 and pan may be directly adjusted simply by moving the sliders. As already mentioned, you may re-program all functions to your own needs and save the new slider/buttons settings. In performance mode, with sounds “stacked” on each other, the sliders function as a little mixer… move the faders to get the right balance between the various sound volumes … very convenient, isn’t it?

Moving sliders intuitively may not always lead to absolutely exact programming results, so GEM / GeneralMusic implemented a Show function that displays each fader’s value on the large screen. That means you’re able to program sounds vaguely – on the run, so to speak – or, if you prefer, very precisely (with the help of that display).

Excellent controllers …

Extras

You may have realized by now that some aspects of the S-series differ from competitor products. Here are a few more extras: The GEM S2, S3 offer…

Different Scalings, such as Equal Temp. (the boring one we’re all used to), Pure Major C, Pythag. C (the genuine mathematics is back!), Werck. (~meister), Invers (wanna perform a Joe Zawinul solo?), 1/4 Tone, Arabian, User 1-4. Yes, you may save your own scalings !!! I think this is a wonderful option. It might be a lot of work to programm personal scalings, but musical wise it opens new doors …

Stereo-outputs plus 4 single (sadly mono) outputs

GeneralMusic S3 Turbo

There’s an UNDO function, just in case you made some potential heavy mistakes in programming …

Clipboard saves certain settings, it’s sort of a screenshot memory. Let’s say you created a very complex amplifier envelope (they may be up to 10 stages, in case I didn’t mention that!), and now you’d like to use the same settings for the pitch envelope. Simply “save” the amplifier envelope setting into the clipboard memory and recall it once you open the pitch menue. Couldn’t be easier …

Yes, the envelopes may be very complex. Up to 10 stages !!! Program a real complex envelope for dramatically different sound shaping once you get bored with the classic ADSR

Two totally independat MIDI busses (just to mention them once again)

GeneralMusic S3 Turbo

Pan may be modulated by its own envelope, by LFO and key pressure

The Manual is quite good (at least the German version). It’s very detailed, and written in user friendly style …

Sound

Time to pay attention to the instrument’s sonical potential. Most presets are tasty, well programmed sounds that can be immediately implemented in your productions. In my opinion, many of them are too doused in reverb. But again, simply press EFF. BYPASS and use your outboard equipment instead of the internal effect units. The basic sound is very powerful and surprisingly strong. Thanks to all those modulation routings, the brilliant S2 and S3 engines give you expansive, atmospheric sounds.

Being interested in comparing both the original and the digital substitute, I played some simple chords on both the Elka Synthex and the GEM S3 (S3 first, to be exact). To my surprise, the GEM almost sounds better. Two small drawbacks (there’ve got to be some): The rotary function causes sort of a loop effect at the end, and the filter’s resonance is just not as colourful as on the original Synthex …

Some of the buttons are too small …

In other words…

… the GEM S-series is a real bargain. Right now in 2012, prices range from 250 to 400 Euros. That’s definitely reasonable, considering that any Roland D-50 costs the same money. If there’s a chance, try to get an S2 or S3 WITH A CASE (I didn’t, but that’s my advice!). The instrument’s special rubber-covered chassis is a little prone to injury, so a case really makes sense.

Sure, neither S2 nor S3 are dream machines. It takes quite a while to reach into the depths of the programming architecture. You need to learn that track and track may be two different things (a performance consists of up to 7 tracks = sounds, and, of course, the sequencer has its own, different tracks). Speaking about programming – I’d say it’ll take several months until you really feel at home.

GEM S3: keyboard with polyphonic aftertouch (!)

But GEM/GeneralMusic did its best to create a synthesizer/workstation that offers heaps of functions for a better workflow. The gorgeous display, the freely programmable sliders, wheels and pedal-ins, the wonderful polyphonic aftertouch – just keep those aspects in mind. Most important, programming efforts end up in stunning, expansive sounds. I highly recommend these synthesizers to all programmers and players. GEM S2/S3 are both great sound engines and potential master keyboards as well.

90 thoughts on “GeneralMusic GEM S2 / S3 – ingenious workstations”

Hi Theo,
Congratulations, You wrote the best review I’ve seen about GEM S2/S3! Somewhere in the past, I promised myself that I’ll write a review about the capabilities of a polyphonic aftertouch (polyAT) keyboard/MIDI controller, with S2/S3 examples as one of the best implementation of this technology, since Yamaha CS80. Glad that you did it better than me or someone else may expect from an old keyboard review! But these keyboards really deserved it!
I have a GEM S2 and also a Technics WSA1 “physical modeling” synth, with the rare expansion board. Together with Paul Nasca Open Source ZynAddSubFx softsynth (additive and subtractive synthesis – now polyAT enabled!), the excellent polyAT capable GEM S2/S3 (and it worth also to try some of the 200+ original and user sounds disks available for GEM S2/S3) and Technics WSA1 are a hidden treasure at a (still) very affordable price, for the one who needs new and/or “classic” synthesized sounds. Congratulations again for the review!

I read your comments on the Generalmusic S2 turbo.I loved the keyboard also. Unfortunately I tried to change a leaking battery and lost the system OS. If you have any knowledge to direct me to a copy of that system I would be eternally grateful .Anyone else having the OS for this keyboard please let me know.

Hi had a GEM S2 Turbo and adored it. I took a chance buying it as everyone else was singing the names of the big players such as Roland & Yamaha but felt the Yamaha alternative at the time felt like cheap plastic. I do wish more people had got behind what this company was trying to do. To me it felt cutting edge.

Sadly after many years playing the GEM I had to go abroad and put my GEM in storage but couldn’t bring it back to life. The onboard circuit-board battery died and I lost the operating system. Sadly had to bin it. Made me cry.

Ironically the styling of Korg’s flagship the Kronos, that I would currently love to own if I had the money, reminds me of the GEM of so many years ago…

Hi hoping someone can help my GEM S2 has just stopped working out the blue.It powers up but theas LED screen has all muddled text like hash signs. None of the red led lights come on either. I hoping someone is ale to suggest a good repairer of this unit as grown very fond of it.

Yes … I experienced something similar. It’s probably the operation system that doesn’t boot any more. To be honest, I’d buy another S2. They’re really affordable (250 Euros) … which is about the average costs of a good repair job.

I got an S3 Turbo from a friend as a gift, it was in an attic for many years. I powered up and was playing perfectly then suddenly nothing. I left it for a few hours and it lit up again but no sound. Any advice on battery or power supply. It’s in immaculate condition and don’t want to loose it.

… battery: probably not the problem (the S3 still would play a sound, even if the battery is low or exhausted). Power supply … well, if the synth powers up (display lights up) – then the PSU should be ok. Question: Does the system startup process finish? Or does it just stop during booting? (GEM S2 and S3 often have problems with botting up, sadly) …

Thanks very much, nice detailed review! I do wonder, why no one mentions the SX2 Version of the S-Series? It appears very difficult to find comparison info. If I had to guess, I’d say that the SX2, is an S2 with the Turbo Kit (Upgrade), which would make sense as Synthesizer “upgrade” history goes. I haven’t yet found a (PDF) Manual for the S-Series Synthesizers – I’m sure it must be attainable. These are a rare find: I didn’t see any on eBay at this time.

Hi. I have a GEM S Series Manual in PDF. If you want it, I can send it to you via e-mail. I have a S3 Turbo since many years ago. I have many Sound Disks in .img format and I use OmniFlop v.2.2d in Windows 7 for convert these images a floppy disk. I will do maintenance whenever necessary. The power supply was damaged once and I fixed it myself. From time to time I do maintenance to the contacts of each key. It is a tedious job but not complicated.

Unfortunately these are newer harddrive based units so there is no reference to the floppy drive. Would you mind sending me the pdf for the S series if it’s for the older ones like mine? I’m really looking forward to getting this thing ship-shape.

No idea, sorry. GeneralMusic is history and so its service department. Easiest would be to buy a secondhand S3 Turbo … shouldn’t cost more than 250 Euros … and the S3 you have would be useful for spare parts. Regards …

My parents bought me a GEM S3 Turbo in 1993 when I was 13 years old and I gigged it 3/4 times a week for the next 10 years! It was an exceptional synth and I played it faithfully every day for hours, recorded on it etc.
At the time I was looking at Korg 01WFD (remember them!) Yamaha SY 85 and Kurzweil :-) GEM S3 Turbo blew them away in terms of editing, master keyboard functionality and the different tone it generated in terms of sounds. True, the patches weren’t as epic as the Korg, but they were great in other ways. The Sequencer was in another league too as well as the ability to sample.
My GEM S3 has been a very faithful friend who never let me down once in some very big performance settings.
Reluctantly I am selling her as we are downsizing, but not before celebrating her brilliance! Listed on ebay.co.uk right now if you are interested. If she doesn’t sell, I will continue to be a proud GEM S3 owner :-) The keys need an overhaul as some don’t sound now, but it works well slaved to a master keyboard.

I own a GEM SX2 Synth which I use regularly in my home studio and it also my favorite synth to play for shows/performances. I own a Korg Polysix Analog Synth, Korg EX-M1 Synth & Roland D-50 as well but the SX-2 has been the staple of the bulk of recordings I’ve done. I run Propellorhead Reason 7 software on a tricked-out customized ASUS Laptop and the GEM sounds intergrate into the software recordings seamlessly. It would be great if GEM could’ve stuck around long enough to see how many users their S-series has garnered over the years. Still a top-dog in my book!!

Hi there!
I have the WX 400 Multimedia Workstation (GEM) from 1996 and I want to replace the battery. Can you help me please what kind of battery is this and how can I replace it by ny self ?
Best regards.

As a proficient ONE-MAN-BAND / ONE-MAN-ORCHESTRA and expert GEM S2-S3 artist, most 4 piece bands and some mini orchestras are intimidated by what I’ve been able to get out of this reliable workstation (both performance and recording). Trust me – an updated version with original features, improved polyphony and post 1990 technical enhancements would result in this instrument selling like hotcakes.

… it probably might be difficult selling a GEM e-piano from 2002. The RP120 has a wonderful hammer action, it’s heavy and very well made. But times changed, modern e-pianos are lighter, easier to carry around, less bulky, and they have excellent sounds at a very low price. A Korg SP-250, for example, costs a mere 700 USD. Regarding the RP120, wich is 10+ years old, I’d say 400 – 450 USD might be a “realistic” secondhand price. Regards …

Does anyone know how one might reach the Italian manufacturers
who built the S2 – S3 General Music Keyboards? or is any one
interested in selling the same keyboard in the “States” (US) ?
Bill Crews – 240-350-4822

Hi Bill- Left the same post below also: I have an S3 Turbo with a ton of software that I have been thinking about selling. I bought it new.
I have original the original manuals, video instruction manual, a ton of software- sounds etc. , and the original box. Keyboard is in decent shape and plays well. Let me know if you haven’t found one and would be interested. I live in the US.
Pete

“Battery discharged message
If the instrument has been left turned off for a long period of time, the battery will slowly discharge. When the battery discharges completely, it causes the total loss of all user programmed data. If the battery has lost its charge completely, turning the instrument on will show the following message: “Battery completely discharged, instrument re-initialized”

The message cancels automatically after 2/3 seconds.After the message cancels, be sure to save all of your edited work to disk until after the battery has sufficiently charged. Leave the instrument on for a few hours to recharge the battery. One hour of charge time corresponds to approximately one day of use – the battery charge remains active for approximately 15 days of non-use. If you foresee leaving the instrument turned off for a long period of time, be sure to save all user-programmed data to disk to safeguard your data against automatic erasure due to battery discharge.

Hi
Wonder if you can help? Several years ago when I owned a GEM S3 Turbo keyboard which I had originally bought in the U.K and which I took to New Zealand when I emigrated. Wrote some great songs on it and still have 15 disks with those songs on. The keyboard was stolen and I would dearly love to get another or an equivalent GEM which can read those disks. Any idea of places I could check that might be able to help?

I guess it’s only the S-Series (S2/2R and S3) itself that can read the discs. Maybe the GeneralMusic Equinox Series can do that too, I have to try … but other than that I guess it’s the S2/S3 you have to concentrate on. (And by the way: the S-Series sounds much better than the later Equinox Series …). You should be able to find a S2 or S3 for 300 – 400 Euros / Dollar on eBay …

Hi- don’t know if you ever found an S 3 yet- but I just noticed your post and I know they are hard to come by. I have an S3 Turbo I bought new- and was looking to sell it. I have a tone of software with it, video instruction manual, original manuals and box. Keyboard is in decent shape- never used on gigs, just home recording. Let me know if you would be interested. I live in the US.
Pete

hi I’m trying to get some info on a keyboard that’s selling on my local craigslist. It’s called a Gem sx2, and I’m not finding anything about it. I’m finding info on s2/s3 and a turbo s2 and s3, but nothing about sx2. Is the x designation referring to the turbo version, or is it something particular to Canada (I’m in Canada)? thanks.

Hi … the SX2/SX3 are the “arranger keyboards” of the S-series, as far as I know. Similar (or equal) sound architecture to the S2/S3, but a different user panel: no real-time access to sounds (no sliders), bigger (illuminated) buttons and an enhanced sequencer (that shows lyrics and chords of songs, if I’m right). Second hand prices are a bit lower (compared to S2/S3), I guess …

hi all, i’m sorry be more my speak don’t smart, i have a gem wk 1 oriental but now blend,lcd on but havn’t message and no out voice, please i want solution to formating manual,how idea?thanks and sorry.
i’m bukhori from indonesia. Email: gepengilir (at) gmail.com

hi I just want to update this discussion. I went and saw the Sx2 that was for sale. He had the original manual. The Sx2 does have poly aftertouch, and it says so clearly in several places in the manual. It also doesn\t have real time controllers, and the particular one I tested had terrible velocity; it was actually useless.
People should know that the Sx2 is not properly speaking, one of the S series.

I have a S2 Turbo for about 17 years now without any major problems except a broken key . I sent it to some service for repair and they told me to not sell the synth ever. New synths have different keybed construction and the material (rubber?) has to be replaced after a few years, while GEM S2/S3 have some construction without any rubber and the service man said something like this keyboard will keep working for a very long time…
But to be honest, I use it only as homestudio masterkeyboard, no gigs, no frequent transportations…

> Stereo-outputs plus 4 single (sadly mono) outputs
I think this is not true – you can also configure the mono outputs as stereo pairs – at least according to the manual.

I have to figure out how to get those S2 sound images to floppy on Win7 64bit… OmniFlop should work hopefully!? Any experience?

Also was anyone able to make a good supersaw simulation on this synth?

Hi, I own a GEM S3 Turbo for 22 years. Great keyboard used most as a midi master keyboard and mixed the acoustic sounds with the Roland JV1080. I read many forum topics about leaking batteries and many had replaced them, so did I. After that, the keyboard apparently loses its OS. Many asked for a OS disc. So am I, up to now nobody seemed to get any response on this, or there are no OS discs available? Can somebody please help to get me a OS disc. I’m Dutch, my email adress is tonnysnijders59 (at) gmail.com

Hi from Italy!
My S3 turbo has the same problem.
It is caused by the oxidation of some contacts on the main board (due to the leaking battery).
This is not an os problem.
After replacing the battery, I turn on the synth but I can hear no sound.
But if I detach the display controller and I turn on again, the synth is working! But it very difficult to use it, because you can’t see what you are doing on the display…
The solution is: clean the mainboard and check its contacts

Hi all !! I have a GEM SX2 like new !! but i cant find info about it, i would like to sell it because its not my kind of keyboard …. or i can trade it for other synths like korg, moog, ensoniq …. Can anyone give me an orientation about the value? Thx a lot.

Hi Theo. Maybe you don’t remember but I have got the scans of original Sound-On-Sound review of S-serie which was too early for online view so now anyone can read it. It’s very promising review which makes it sad how the synth ended being flop product. Besides the SOS review there’s also ads, schematics and floppy images of all original GEM disks and compatible samples from other brands:

I HAVE A GEM S2 TURBO BUT IT DOESNT SEEM TO SWITCH ON I HAVE HAD A ELECTRICIAN LOOK AT IT AND HE SAID THE BATTERY IS FINE, BUT CANT SEEM TO FIND THE PROBLEM , HAS SOMEONE ELSE HAD THIS TYPE OF PROBLEM, AND IF SO WHAT DID YOU DO? IS IT POSSIBLE TO GET A COPY OF THE OPERATING SYSTEM

I had a dead GEM S3 Turbo. I replaced the leaking battery, it did not help. Also replaced Some parts around the battery, no cure. At last I bought e new(!) cpu board. It helped. Now my display freezes after a while playing the instrument. I still can play it, but the display does not react at all. If I switch it off and on again, the display is blank with Some blue lines. I checked the controlller board, but that seems to be fine looking at it. It looks like when getting ‘warm’ the refreshing gets disturbed. May be Someone recognises it and can help me. I’m not an electrician, but it may be just a small component causing this problem. When the instrument has been switched off for a couple of days, it starts working again. But when playing for a short time the screen freezes again. Many thanks in advance for your help.